Things to do in London this weekend (November 6-7)

It’s time to remember, remember the fifth of November. Of all of the UK’s winter traditions, there’s nothing like gathering in a park in the nippy nights of early November to watch a pile of flaming wood and fireworks piercing the sky. Bonfire Night – aka Guy Fawkes Night –might sound strange to those unfamiliar with it, but it’s a great British tradition and one of the highlights of the second half of the year. London puts on a plethora of Bonfire Night and fireworks displays with sparkly skies, yummy street food, and so much more. Here are the best. 

Pitchfork Music Festival is gearing up for another edition, with a jam-packed schedule of eclectic live music encompassing everything from avant-rock and post-punk to UK rap and deconstructed dance music. This year’s headliners include Boston indie-rockers Horse Jumper of Love, electronic producer Actress, Aussie electronic group The Avalanches and Chicago rapper Noname. Elsewhere on the line-up are the likes of Panda Bear, Elijah Wolf, Psychedelic Porn Crumpets, Working Men’s Club, Bloodsports and Kiwi jr. 

Leong’s Legend has long been a mainstay for Taiwanese street food in the heart of Chinatown. Inside, you’ll find a lively buzz and the scent of steaming baskets drifting from the kitchen. Here, you can dive into a 90-minute dim sum marathon, with unlimited handmade pork buns, pork and prawn soup dumplings, and those much-talked-about ‘Supreme’ crabmeat xiao long bao all making an appearance, and a glass of prosecco too, for just £24.95 (or £29.50-£31.90 on weekends.) An absolute steal. 

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Three teenage girls are dancing round their bedroom under flashing rainbow lights, squealing over boys, when everything goes dark and the screaming starts. It’s a jolting opening to a play, and it sets the rhythm for everything that follows in Theresa Ikoko’s Girls. You’re laughing one minute and holding your breath the next. It follows Tisana, Haleema and Ruhab, three best friends taken from their village by militant insurgents. It’s set in Nigeria in 2014, the year Boko Haram abducted 276 schoolgirls. Twelve years on – with around 90 of those girls still believed to be missing – director Ewa Dina brings its first UK revival to the Young Vic’s intimate Maria studio. The final scenes are devastating. As the lights come up, the screens fill with the faces of the real Chibok girls, and nobody seems in any rush to leave.

This major exhibition from the V&A will transport visitors to one of the world’s great cities, exploring its best-known landmarks, from the Hippodrome and Hagia Sophia to Topkapı Palace and the Galata Tower. Constantinople to Istanbul: One City, Two Empires will explore 1,600 years of this influential city. Once called Constantinople and now called Istanbul, it was the imperial and religious capital at the heart of two successive empires: the Byzantine (AD 330– 1453) and the Ottoman (1453–1922), and this show will span AD 330 to 1922; it will bring together remarkable works of art, design and architecture to reveal the enduring creative legacy of an imperial capital that shaped the Mediterranean world and far beyond. It’s billed as the first exhibition in the UK to tell this story in full. 

With its rooftop terrace offering a front-row seat to St Paul's Cathedral, Madison is the go-to for those who like their dinner with a side of skyline. And also love a sweet deal, because they’re currently offering three courses for £29.50. The seasonal menu starts with cured salmon or creamy burrata, followed by pan-fried salmon with brown shrimp cioppino or a golden chicken Milanese. Finish with pumpkin pie topped with cinnamon ice cream or mulled wine poached plums, for the perfect autumnal feast.

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Cassette is the sibling of Peckham’s Levan, which has been bringing the best chefs in Paris over to south-east London for regular Sunday sessions. Cassette feels more grown up and less hectic than Levan. It helps that the space is sensational: a Grade II* listed stained-glass workshop a few doors down from elder London dining statesman, Rules. Cassette’s music credentials are as strong as its culinary ones. Apparently there are some ultra-rare West German Grundig Audiorama 8000 spherical speakers here, and the restaurant's bespoke playlists provide a polished soundbed to head chef Essa Fakhry’s refined French fancies. The menu focuses on Parisian crowd-pleasers, including a delightfully loose roast cauliflower and comté quiche which sits in a pool of its own oomska. Covent Garden might seem full of tourist traps to some, but Cassette couldn’t feel more like home. 

Oxford Street is one of the most iconic areas for London’s Christmas lights, and for good reason, given that a hefty proportion of us Londoners will see them lighting our way as we do battle for Yuletide gifts. This year, the lights are Harry Potter-themed to mark the release of Harry Potter and the Philosopher’s Stone TV show, scheduled to premiere on HBO on Christmas Day. You can watch the big switch-on on Wednesday November 4. Alongside the usual display, look out for the Hogwarts-themed designs. As is now tradition, the lights will be made from eco-friendly materials, including LED lights and recycled plastic. Featuring 5000 twinkling stars – they shine from 4pm to midnight daily until early January. 

Give yourself some proper indulgence at the five-star Courthouse Hotel, with one hour of spa access and your pick of luxe treatment packages (one 50-minute session with two treatments, four-mini treatments, or a 75-minute session with three treatments). You’ll also get complimentary bubbly, and a £10 voucher for any subsequent visits. 

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Based on a 2008 short story by Ursula Wills-Jones, this fantasyland comedy-drama might be the first time anyone has ever attempted to meld a bawdy 1970s sex comedy with Lord of the Rings. Wicker’s premise might be sledgehammeringly obvious, but the execution is immaculate. Olivia Colman is resplendent as a nonchalant fisherwoman who commissions a basketmaker to weave her a husband. Played with creaky restraint by Alexander Skarsgård in a full-body woven suit and facial prosthetics, it turns out that he’s a keeper. The handsome willow husband immediately outshines the local menfolk due to his gentle nature, willingness to help around the house and massive cock. But Wicker isn’t all dick jokes and sylvan sauciness. A true darkness descends, and the film’s looming folk horror promise comes good. 

Beloved Drag Race UK winner Johnson returns with a new night of comedy that we’re told ‘harks back to the psychedelic creativity of the 1970s which flourished during political unrest’. Psychedelic drag comedy? Sounds good!

There are few things that we’d willingly brave the chill for during winter in London. But ice skating is one of them.

From early November each year, ice rinks decked out with towering Christmas trees and twinkly fairy lights start to fill London’s squares and courtyards, hosting everything from DJ takeovers and kids’ skating lessons to date nights and family outings over the festive period. 

And two of the big ones are up and running this week; first up is Leicester Square’s circular skating rink, which debuted last year and has returned to the heart of Theatreland. And next up is Battersea Power Station’s atmospheric, 1,200 square metre riverside rink, which opens on Friday night.

Book a spot now to make the most of skating season before the festive crowds descend in December. 

Korean film is way more than just Bong Joon-ho and Park Chan-wook, supreme though they are. In fact, Korea arguably has one of the world’s most exciting and mercurial film cultures, as proved by this splashy annual festival. Showcased at the BFI Southbank, Ciné Lumière, the Institute of Contemporary Arts (ICA) and various other prestigious London picture houses, the line-up features 22 films screened across a fortnight, kicking off with Kim Mi-jo’s The Journey to Gyeong-ju (2025), a star-studded crime drama with grieving matriarch Ok-sil (Parasite’s Lee Jung-eun) and her three daughters (Gong Hyo-jin, Park So-dam, Lee Yeon) embarking on a road trip to avenge the murder of the youngest family member, followed by a Q&A with director Kim and actor Lee Jung-eun. The closing gala is the UK Premiere of Park Hoon-jung’s Tristes Tropiques (2025), alongside a Q&A with the filmmaker. Well-known for his gritty and ruthless action dramas, this film is a bloodbath triggered by the death of a kill-squad leader. It won the Nouveau Genre Grand Prize, the top honour in the international competition at the 32nd L’Étrange Festival. 

Every year, thousands of professional and amateur photographers around the world submit their best portraits to this prestigious competition (fka The Taylor Wessing Photo Prize), which has helped launch the careers of many top photographers. Around 60 finalists are selected and put on display at the National Portrait Gallery, giving an insight into the lives of friends and family of those behind the lens, or capturing a moment in time with stars in the spotlight. One image from the four finalists will take home the big prize (£15k in prize money...maybe we should enter next year!)

The Tate Modern began keeping its galleries open until 9pm every Friday and Saturday back in September. Its been taking full advantage of those extra hours ever since, hosting free live music performances at its Corner Bar. This Friday,  it’s collaborating with King’s Cross-based community station Voices Radio for an evening of improv jazz. A roster of London jazz scene heavyweights will meet on stage for the first time and break out in unrehearsed, live improvised jazz. That’s right, they’ll be making it all up right on the spot. There’ll also be vinyl DJ sets in between sets, a bunch of boardgames to play for free and a curated selection of natural wines from the Tate’s cellar. It’s worth knowing that this isn’t a one-off free event. Natural Jazz is now taking place at Corners every first Friday of the month. 

To Catch a Predator was an NBC hidden camera show that lured pedophiles into the full glare of America’s TV screens in the mid-2000s. Primetime is a thriller that finds satire everywhere it looks. And as the show’s real-life circus master Chris Hansen, Robert Pattinson puts in his best performance in a golden year. Convincingly decked-out by production designer Alex DiGerlando, who remembers what 2004 looked like a lot better than most of us, its suburban, formica-clad kitchens are where the accused are unmasked and left to face their personal ruin by the slick, suited Hansen. But the show’s gotcha M.O. becomes ever more questionable: fresh-faced wannabe actor Dan (a fabulous Skyler Gisondo) is recruited to entice and lure potential sexual predators out into the open. ‘Decoy Dan’ is groomed to attract the groomers. Even producer Andie Bender (Merritt Wever), a hard-nosed veteran untroubled by too many qualms, is queasy at the corruption of this young soul. It’s an icky-yet-gripping final act in a film of suburban homes, motel rooms, police stations and TV network control rooms – mundane places electrified by the moral violence of this ill-conceived spectacle.

Sir Lenny Henry has long since transcended being a ‘mere’ comedian – if he ever really was – with a career that has long leant more towards the stage, kids’ books and general elder statesman-ing. He’s still got it, though: aged 67 he heads out on his first stand-up tour in over a decade with Still at Large. His first since 2010, it’s billed as ‘part stand-up, part storytelling and part conversation’.

A month-long feast of contemporary Czech cinema, the Made in Prague Festival is back for its 30th edition with a thrilling selection of high-calibre dramas, comedies, docs and family films, hosted by the Regent Street Cinema and The Garden Cinema. This year’s programme brings together two distinct strands: the first celebrating the legacy of the Czechoslovak New Wave, and the second showcasing a selection of acclaimed new Czech films, all accompanied by live introductions and post-screening discussions.

Every winter the Southbank Centre turns the banks of the Thames into a frosty wonderland, full of little wooden Alpine-style cabins selling gifts, warming drinks, and snacks. You’ll find huts serving up truffle burgers, duck wraps, mulled wine, Dutch pancakes, churros and many more tasty morsels to nibble on while you look through gifts, jewellery and decorations made by independent craft traders. Or, once you’re done browsing, snuggle up at pop-up king Jimmy Garcia’s riverside venue Fire And Fromage, where you can snaffle all-you-can-eat raclette, sip on seriously decadent hot chocolates, and even toast your own marshmallows round a cosy fire pit. 

Adolescence and Top Boy actor Ashley Walters’ startlingly assured debut feature opens in darkness. We hear, but don’t see, the panicked aftermath of a knife crime and voices in heated debate as a siren announces the arrival of the police. Cut to Troy’s rabbit-in-the-headlights stare in the back of a cop wagon. Played by The Long Walk actor Tut Nyuot, he’s a good, if waylaid, kid caught up in a furious world he’s vastly unprepared for. Thrust into a foreboding brick youth detention centre, Troy is stripped naked alongside two fellow detainees. They’re destined to be his good and bad angels. Illuminated by cinematographer Tasha Back and pumped up by composer Swindle’s edgy score, this brilliant British film cares deeply about making us care for Troy and carries us to an intriguingly queer place thrumming with pent-up promise.

An extreme sports doc so pummelling, you may need a huff of oxygen (or a hug) afterwards, Elizabeth Chai Vasarhelyi and Jimmy Chin’s follow-up to Free Solo is not the Everest climbing documentary you’re expecting. It’ll leave you gasping at points, as its protagonists dice with death. Of course, people have been (successfully) scaling Everest since 1953. Nothing new there, right? But only five of them have done it from the Chinese side – the formidable North Face route that looks like something you wouldn’t want to fly over, much less climb. Much, much less ski back down. Yet that is the task real-life partners and elite mountain skiers Jim Morrison and Hilaree Nelson set for themselves in 2022. Ahead of them are sudden avalanches, treacherous ice fields, high winds and fatally fickle weather. This extreme NatGeo doc is ultimately a paean to following your path – as well as a heart-in-your-mouth odyssey to the roof of the world. See it on IMAX, don’t Google anything beforehand and wear something warm. 

Master mentalist Derren Brown is back on the West End, this time with a disorienting show that sets out to challenge the illusion of free will and our ownership of the future. Pretty classic Brown stuff, right? But, the thing you can always expect from Brown is the unexpected. His stunts, however routine they might be, still manage to confound. The first half of Only Human cycles through a circus of tricks, it’s disorienting but still buoyant, thanks to Brown’s excellent comedic timing and disarming warmth. The second half takes a drastic turn; a sense of alarm no doubt helped by masterful stage effects, lighting and sound design, but largely down to Brown taking some of his more extreme psychological manipulation to the stage. Without giving too much away, trigger warnings were issued, and every mouth was agape. As with any Derren Brown show, you’ll leave deeply impressed by the man’s showmanship and aptitude for human manipulation.

Agatha Christie is widely regarded as the greatest ever crime novelist, and the Queen of Crime will be under investigation herself during the British Library’s 2026 season. Coinciding with the centenary of The Murder of Roger Ackroyd, one of the prolific writer’s most important and influential novels, the autumn exhibition will delve into the origins of iconic characters Miss Marple and Hercule Poirot, while also exploring the the eclectic range of interests that inspired the English author’s works, from archaeology to pharmacology, and illustrating the profound impact her ouevre continues to have on the whodunnit genre. 

In Danny Lee Wynter’s new play, based on his own experiences, we’re in a big, busy family home in Ilford – both in 1995 and in 1980. In the 90s, Ted (an impressive stage debut from Leo Whitfield Harris) is an awkward, mixed-race teen trying to work out his place in the world. Wynter’s dialogue feels like it could be lifted straight from a sitcom; we get all the colour and expletives you’d expect from a close-knit family, fractured by clashing personalities and worldviews. Drawing the lines between the people we were in the past and the people we become, Wynter has written something wise, witty and packed with big feelings. 

Poly Styrene, Chrissy Hynde, Siouxsie and the Banshees, Debbie Harry; as part of the city-wide Up Yours! Festival, the Museum of Youth Culture will celebrate the women behind the punk movement with a landmark exhibition. God Save The Queens celebrates the legacy of Poly Styrene, the visionary frontwoman of X-Ray Spex. It will bring together rare and previously unseen artwork, photography, fashion and personal archival material, with highlights including the Poly Styrene Archive, original artworks by radical feminist photographer Linder, previously unseen artwork from X-Ray Spex saxophonist Lora Logic, and archival fashion pieces from the iconic pink-haired designer Dame Zandra Rhodes. 

Jordan Fein’s lavish revival of Sondheim’s subversive fairytale musical Into the Woods spent last year packing out the Bridge and hoovering up Oliviers. Now it’s crossed the river to the Noël Coward with a mostly new cast, and it’s every bit as good. Sondheim and book writer James Lapine throw Cinderella, Jack, Rapunzel and Little Red Riding Hood into the same forest as a childless baker and his wife, asking what happens after ‘happily ever after.’

Kate Fleetwood returns as the Witch, owning every inch of stage, while John Dagleish and Laura Pitt-Pulford are a lovely match as the Baker and his Wife, while Gracie McGonigal is a joy as Little Red Riding Hood, all youthful cockiness, the kind of girl who’d square up to a wolf and fancy her chances. It’s a wordy, fiddly, nearly three-hour musical about fairytales, and somehow it flies by.

After a recent spate of pretty weird London Chekhovs, here’s reliable old master of naturalism Ian Rickson with a typically elegant take on the latter play. Although that’s not to say this Cherry Orchard is a bog-standard linen-suits-and-samovars job. Far from it. Adapting playwright Conor McPherson cranks up both the bitter and the sweet as he massages the plot and dialogue for some big laughs. 

More importantly, there’s an absolutely storming performance from the perennially underestimated Stephen Mangan as Yermolai Lopakhin. A self-made man of humble origins, his relationship with the lofty but impoverished household of Lyubov Ranevska (Kristin Scott Thomas) is the complicated heart of the play. There are some very funny performances. But it’s the more painful emotions that linger in the splendid central turns from Scott Thomas and Mangan, the sense of people too in love with a perfect past to ever truly embrace an imperfect future. 

Doc’n Roll Film Festival shines a spotlight on some of the movers and shakers who’ve lit up the music world with intriguing and eclectic sounds via an 18-day programme of music documentaries covering a wealth of genres and scenes. The 13th edition of the festival boasts 21 feature documentaries and five shorts, with screenings often accompanied by Q&As with the musicians and/or filmmakers, and even one or two live performances. Highlights this year include an Opening Night screening of Wolf, Christian Cargill’s portrait of English singer Patrick Wolf, the world premiere of Peven Everett: Voice of a Generation, documenting the Chicago musician’s pioneering impact on house music, and Kevin Wright’s Punk Brighton, documenting the lively punk scene that revolved around legendary Brighton music venue The Vaults in the ’70s and ’80s. There’s something for everyone, basically. Unless you don’t like music, you big weirdo.

Helen Edmundson’s new play Some Woman is described as a thriller, but the experience of watching it is more like a slow strangulation – one that leaves you feeling thoroughly shaken and queasy on the other side. Anne-Marie Duff plays Julie, a downtrodden mother and divorcee, who puts everyone before herself to such a degree her own needs and opinions are barely a footnote in the minds of her family. 

The Jodie Comer-starring Prima Facie showed us how the British legal system is stacked against women in cases of sexual assault. Edmundson’s play posits that women beyond ‘a certain age’, as they’re so often described, are not only invisible to society, but dangerously vulnerable once they're no longer deemed of value to men. This is feminist theatre that serves justice to its case. 

Leave the children at home for this salacious ballet. For the past 40 years, Kenneth’s MacMillan’s three-act masterpiece, adapted from Abbé Prévost’s book ‘L’Histoire du Chevalier des Grieux et de Manon Lescaut’ has entranced audiences and divided critics.
The late choreographer’s ‘Manon’ has bite. A story of questionable morals – or lack thereof – has all the traits for a rich, dense production full of star-struck lovers, manipulative siblings, hedonistic antics, debauched seduction, shame and murder. The duets are beyond sublime, with statuesque lines and holds that will make you gasp for breath.